2023-08-14 03:43:00
The photographer is exhibiting a funny and poetic ready-made in Arles.
Disgusted by his own admission by the debauchery of means surrounding the Bourse de commerce version François Pinault in general, and by the copy signed Urs Fischer and presented in situ of the Abduction of the Sabines in particular (it is a work in wax, doomed to go up in smoke), the artist Jean-Louis Garnell (born in Brittany in 1954) organized his own counter-offensive. With the means at hand…
A computer engineer by training, who became a photographer (he had exhibited in Marseille, as part of the Rencontres, in 2019), the one whose name appeared in the 1980s in the credits of the illustrious photographic mission of the Datar therefore took truant paths to give his own interpretation of a ready-made revisited with tact, humor and poetry, from waste and scrap gleaned here and there. At home, an empty egg carton suggests a skull, while a latex household glove holds a rod. A glass bell is supported by the legs of four Playmobil in balance, while white canvases, placed on the floor, are adorned with geometric patterns made up of various seeds.
All unpublished, the works thus form a humble inventory that the archivist of the banal embellishes without affectation: “It’s been nearly forty years, standing, without original fault, on this present earth, clearing the way in search of the works that dot it .” Located on the first floor of the Departmental Museum of Ancient Arles and as “brute of formwork” as that of Marguerite Bornhauser, just below, is sophisticated, the exhibition is called “Zero euro”. An undervalued estimate to say the least.
“Zero euro”, by Jean-Louis Garnell. Departmental Museum of Ancient Arles, until September 17.
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